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You are hereHarvey-LeeHomeHarvey-LeeMonthly Selection Harvey-LeeModern Continental Prints Harvey-LeeModern Continental 01

A Small Selection of Modern Continental Prints currently in stock

Tavik Frantisek Simon, Boulevard St Martin Karl Schmidt-Rottluf, Harbour on the Elbe Eugene Delacroix, Faust dans son Cabinet
Camille Pissarro, Portrait of Paul Cezanne Theophiline Steinlen, Chat sur le Plancher Albert Welti, Portrait of Franz Rose

This link: Modern Continental Prints 02, will allow you to view the featured prints from the
subsequent selection of Modern Continental Artists


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The Current Selections:

From a Recent Catalogue
Old Master Prints
Modern British Prints
Prints by Women
Prints under £250

Selections from the Home Page

Click on a thumbnail (left) to link directly with the entry for that print, or scroll down to view all this month's selection. Images are not at very high resolution.

If you require further information on any print featured here, please contact us. Some of these prints have since been sold and are marked as Sold.

Tavik Frantisek Simon, Boulevard St Martin

Zelenice, Bohemia 1877 – 1942 Prague

Simon first visited Paris 1902-03 and settled in the city from 1903 until the outbreak of the First World War. The contemporary vogue for colour etching in Paris was an inspiration to him. In 1906 he joined the Société de la Gravure Originale en Couleurs.

Boulevard St Martin in Winter, Paris
Novák 220, Baker 130     315 x 363 mm

Original colour soft-ground etching and aquatint, 1914. Signed in the plate with the etched monogram. Signed in pencil. Edition of 250. Numbered unclearly in pencil 347? Published simultaneously in 1919 by ‘L’Estampe Moderne’, Paris & FH Bresler, Milwaukee. On japan.


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Karl Schmidt-Rottluf, Harbour on the Elbe

Rottluff, Saxony 1884 – 1976 Berlin

The Elbe was central to Schmidt-Rottluff’s life in his early career. Dresden, inland on the Elbe, one of the largest freshwater harbours in Germany; was where he studied and joined the Brücke group of expressionists and Hamburg, on the estuary, was the home of his friends Rosa Schapire, who compiled the catalogue raisonné of Schmitt-Rottluff’s prints, and Gustave Schiefler. In the winter months of 1910 and 1911 he rented a studio in Hamburg while in the spring and summer months he worked at Dangast on the coast, south from the mouth of the Elbe. Varel was near to Dangast. Schapire catalogues this harbour view as Elbhafen, whereas the Brücke Museum exhibition catalogue by Hirmer describes it as Vareler Hafen.

Elbhafen or Vareler Hafen           
Harbour on the Elbe or Varel Harbour

Schapire 44              230 x 322 mm

Original woodcut, 1910. Signed in pencil and dated. Very rare. Printed by the artist himself in a small edition, probably about ten impressions only. On wove paper, generally in very good condition, skinned patches on the verso.


Schmidt-Rottluff also printed this motif appositely on a postcard which he sent on October 1911 to Frau Ella Kohlstedt in Berlin telling her of problems with his travelling by steamship for his imminent move to Berlin.

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Eugene Delacroix, Faust dans son Cabinet

Charenton St Maurice 1798 – 1863 Paris

Delacroix was inspired to begin a series of lithographs based on the medieval Faust legend after seeing a musical play Faust by G. Soame on a visit to London in 1825. For the first edition in 1828 the publisher Charles Motte insisted on a direct connection to Goethe’s Faust and included a French translation to accompany the set of 17 images, which Delacroix later considered prejudicial, though he lithographed a portrait of Goethe as frontispiece. Béraldi described the Faust lithographs as d’un Romantism échevélé (unrestrained, wild romanticism). Their visual appeal is reflected in their subsequent reissue successively by Villain, Vayron and Goyer et Hermet.

Faust dans son Cabinet
Delteil 59 vi/viii              250 x 175 mm

Original lithograph, c.1827. Lettered by the printer. Issued by Vayron, 4th published state of 6. On wove paper. Small defects in the large margins.


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Camille Pissarro, Portrait of Paul Cezanne

St Thomas, Danish Antilles 1830 – 1903 Paris

Portrait of Paul Cézanne
Delteil 13                 272 x 218 mm

Original etching, 1874. Signed twice in the plate and dated. From the only edition. Issued in 1920 in a total of 75 impressions; one of the first 15 on japan paper. Numbered in pencil 11/75. One small intrinsic paper flaw.


Etched the year of the first Impressionist exhibition in Paris, in which Cézanne also participated, through the offices of Pissarro.

In 1874 Cézanne was thirty-five and living at Auvers-sur-Oise to be close to Pissarro, his mentor. In the last year of his life, 1906, Cézanne described himself as the pupil of Pissarro.

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Theophiline Steinlen, Chat sur le Plancher

Lausanne 1853 – 1923 Paris

Perhaps more than any other artist-printmaker, Steinlen is the master portrayer of cats. Not only did he produce some of the greatest printed images of cats, he also drew them, painted them and modelled them for small bronzes. One of his paintings from 1905 is entitled ‘Apotheosis of Cats at Montmartre’ (Apothéose des Chats à Montmartre).

Chat sur le Plancher
De Crauzat 88 ii/iv                               152 x 254 mm

Original soft-ground etching, June 1902. A pencil signed, dedicated trial proof, to Eugène Delâtre. Second state of four, with the additional work in drypoint and the first application of aquatint to the floor and wall. One of only three proofs thus. (A total of only thirteen impressions in all were printed across the four states, eight in black, and in conjunction with a second plate, five in colours, before the plates were destroyed. There was no edition in the definitive state.) Printed in brown-black ink on thin cream wove paper. 


Steinlen only took up etching early in 1898. He benefited from the on- going help of the experienced intaglio printer and etcher Eugène Delâtre. As in the present example, he quite frequently dedicated proofs to Delâtre.

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Albert Welti, Portrait of Franz Rose

Zurich 1862 – 1912 Berne

A Swiss painter, etcher and muralist Welti trained in Zurich, in Munich and with the Swiss romantic symbolist artist Böcklin. He also spent time in Paris and exhibited there with some success. The Bénézit dictionary describes him as a “lyrical realist”.

Portrait of Franz Rose
Wartmann 20 (iib/iv)                    
340 x 285 mm (image); 388 x 340 mm (plate)

Original etching, 1893. A rare remarque proof (a state undescribed by Wartman). Signed in pencil. Welti’s own proof, annotated in pencil on the reverse Eigentum Prof Welti (Property of Professor Welti). Printed in brown-black ink on chine appliqué on wove. Various defects in the wide margins of the support sheet. A little soiled in the plate margins.


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